Búsqueda

lunes, 11 de mayo de 2015

Frank Zappa & The Mothers - Over-Nite Sensation (1973)


Artista: Frank Zappa & The Mothers
Álbum: Over-Nite Sensation
Año: 1973
Género: Rock / Progressive rock / Experimental / Jazz / Psychedelic rock
Duración: 36:32
Nacionalidad: EEUU


Lista de Temas:
1. Camarillo Brillo
2. I'm The Slime
3. Dirty Love
4. Fifty Fifty
5. Zomby Woof
6. Dinah-Moe Humm
7. Montana

Alineación:
- Frank Zappa / guitar, keyboards, vocals
- Tom Fowler /bass
- Bruce Fowler / trombone
- Ralph Humphrey / drums
- Sal Marquez / trumpet & vocals
- Ruth Underwood / percussion
- Ian Underwood / flute, clarinet, alto & tenor saxophone
- George Duke / keyboards, synthesizer
- Jean-Luc Ponty / violin & baritone violin
- Ricky Lancelotti / vocals
- Kin Vassey / vocals
- Tina Turner & The Ikettes / vocals


Empezamos la semana y al igual que la semana pasada estamos llenos de aportes de nuestros amigos cabezones, por ahora seguimos con los aportes de Carlos con sendos discos del señor Zappa, ahora junto a los The Mothers en "Over-Nite Sensation":


Over-Nite Sensation es un álbum del músico y compositor estadounidense Frank Zappa con su banda The Mothers, lanzado al mercado el 7 de septiembre de 1973. Se grabó entre marzo y junio de ese mismo año en varios estudios de grabación distintos. El álbum se lanzó en sonido estereofónico y cuadrafónico.
El álbum es considerado un punto de inflexión en la carrera de Zappa, ya que es muy distinto de sus álbumes anteriores. Es más accesible (siendo su primer álbum en conseguir un disco de oro), con una serie de canciones mezcladas con sus típicos retos musicales. Las letras son básicamente humorísticas, tratando temas como el sexo ("Dirty Love", "Camarillo Brillo", "Zomby Woof" y "Dinah-Moe Humm"), o de crítica social ("I'm the Slime"), u otros temas ("Fifty-Fifty", "Montana").
Wikipedia


Y como hay mucho comentarios sobre el disco me ahorro mi opinión personal y paso a copiarle excelentes reviews sobre el disco... aquí un par de excelentes críticas que los invito a leer:

Durante la primavera de 1973 la nueva formación de The Mothers estaba de gira por los Estados Unidos, a la vez que aprovechaban ciertas pausas para entrar en los estudios Bolic Sound y Whitney para grabar el material que iban rodando en directo. Para muestra este ensayo posterior a la grabación del disco...
En 9 días repartidos entre el 19 de marzo y el 1 de junio registraron los siguientes temas: Dirty Love, Dinah-Moe Humm, For The Young Sophisticate, Roadie Music, Montana, Excentrifugal Forz, I'm The Slime, Fifty-Fifty, Inca Roads, Camarillo Brillo, RDNZL, Cosmik Debris, Zomby Woof, Wonderful Wino y probablemente Kung Fu. No todos estos temas acabaron formando parte de Over-nite Sensation, sino que se acabaron repartiendo entre éste, Apostrophe', Läther y posteriormente como rarezas en The Lost Episodes. En este video podeis ver una interpretación de RDNZL, uno de los temas que finalmente no se incluyeron en el disco.
La nueva formación de The Mothers era seguramente la más versátil y completa hasta la fecha:
George Duke: Teclados.
Jean-Luc Ponty: Violín.
Ralph Humphrey: Batería.
Ruth Underwood: Marimba, vibráfono y percusiones.
Ian Underwood: Instrumentos de viento.
Bruce Fowler: Trombón.
Tom Fowler: Bajo.
Sal Marquez: Trompeta y voces.
Ricky Lancelotti: Voz.
Kin Vassy: Coros.
The Ikettes (Tina Turner, Linda Sims, Debbie Wilson): Coros.
Poco tienen que ver estos Mothers con los originales; más bien son la confluencia entre el rock venéreo de la etapa Flo & Eddie, (que fue interrumpida abruptamente debido al accidente que sufrió Zappa en diciembre de 1971), y la experiencia previa en la onda jazz-rock de The Grand y The Petite Wazoo a lo largo de 1972. Sin embargo es el comienzo de una etapa totalmente nueva y característica que se prolongaría hasta el comienzo de la gira con Captain Beefheart en 1975, en la que la fusión entre el rock retorcido, predominantemente cantado, y el jazz, incluso funk, se convertiría en la seña de identidad de Zappa, dejando una serie de álbumes inolvidables y cuya escucha es obligada para cualquier persona interesada en su música.
Se dice que Over-nite Sensation es uno de los discos más comerciales de Frank Zappa, y es muy posible que en el momento de su lanzamiento así fuese. De todas formas el concepto de comercialidad dentro de la obra de este músico se mueve dentro de un rango bastante lejano a lo que se suele entender como tal.
El disco se abre con Camarillo Brillo, un tema aparentemente sencillo, fácilmente memorizable y pegadizo, pero hay muchos detalles y arreglos detrás de esa aparente simpleza. A donde quiero llegar es que es un tema muy fácil de tocar en su forma básica; cualquiera puede coger una guitarra y cantar sobre los acordes, ahora bien, cuando uno se para a escuchar la forma en la que Ralph Humphrey exprime los timbales, cómo George Duke adorna los acordes de piano, o la delizadeza de los metales, dejándose caer poco a poco, enfermízamente, entonces la cosa cambia, y es ahí en donde radica la diferencia entre cómo conseguir que un tema aburra a la segunda escucha o no.
Después de esta primera concesión, con I'm The Slime el ambiente se vuelve más sucio y a la vez emocionante. Guitarras corrosivas, un texto grasiento referido a la televisión, un despliegue de teclados totalmente funky sobre un riff mítico, unos coros alucinantes de The Ikettes, y como colofón un solo agresivo que te conduce directamente hacia la mugre más maloliente.
Si hace 36 años la televisión ya era una porquería, ahora más. Me imagino que una de las cosas que más habría de molestar de las críticas que Zappa solía hacer acerca de las taras de la sociedad, era que estaban apoyadas sobre una música de una calidad incontestable.
Dirty Love es otro de los temas que, junto a Camarillo Brillo y Dinah-Moe Humm, se encargan de otorgar un importante peso a la temática sexual dentro del disco. Es precisamente en estos tres en los que la música se hace más accesible.
Fifty/Fifty es un tema que se usaba en la gira previa, en una forma bastante más primitiva, para dar rienda suelta a los solos de Jean-Luc Ponty, George Duke, etc... En la versión que finalmente aparece en el disco se le incluye una letra cantada por Ricky Lancelotti que lo dota de una estructura más concreta, a pesar de mantener su función como vehículo para la alternancia de solos en un acercamiento bastante claro al jazz-rock tan de moda en la época.
Zomby Woof es el tema más enfermo del disco, una auténtica revolución musical, sin apenas tregua entre las partes que lo conforman, con una orquestación enrevesada hasta el límite, unos juegos vocales extremos con Ricky Lancelotti dándolo todo, un solo de guitarra sucio en plan neurona exprimida y George Duke tratando de aportar ese toque funky, aunque teniendo en cuenta cómo es la canción, hay partes en las que simplemente es inviable intentarlo.
Dinah-Moe-Humm es uno de esos temas que Zappa acabó odiando con el tiempo, ya que siempre se lo pedían en los conciertos y eso le obligaba a buscarle un lugar en el repertorio. A mí es el tema que menos me apasiona del disco - a pesar que tiene detalles como los coros de Tina Turner y sus amigas, maravillosos a lo largo de todo el disco – ya que la música queda en un segundo plano bien marcado, para centrarse en la dura experiencia que supuso conseguir que Dinah-Moe alcanzase la plenitud.
Y para finalizar, Montana es uno de los temas más grandes del Puto Amo, una epopeya del sueño americano, de la búsqueda de la autosuficiencia, del dominio de las tierras y de la transformación del paisaje. Detrás del absurdo concepto de establecerse en el estado de Montana para poner en funcionamiento una granja de hilo dental y disfrutar tranquilamente de las mieles del éxito productivo, se nos presenta un entramado musical perfecto, que suavemente deriva en un solo de guitarra cortante y agresivo, con ese clásico uso del pedal wah-wah como corte de frecuencias y no como complemento rítmico, para dar paso al que posiblemente sea el momento que más me emociona de toda su discografía:

I'm pluckin' the ol' Dennil Floss / That's growin' on the prairie
Pluckin' the floss! / I plucked all day an' all nite an' all afternoon . . .
I'm ridin' a small tiny hoss / (His name is MIGHTY LITTLE)
He's a good hoss / Even though
He's a bit dinky to strap a big saddle or blanket on anyway
He's a bit dinky to strap a big saddle or blanket on anyway
Any way
I'm pluckin' the ol' Dennil Floss
Even if you think it is a little silly, folks
I don't care if you think it's silly, folks
I don't care if you think it's silly, folks

Más allá de la 'obligación' de hacer un repaso tema a tema del disco sería interesante entrar un poco en algunas de las personalidades que formaban parte de esta encarnación de The Mothers, ya que una de las razones por las cuales la obra de Frank Zappa es tan heterogénea es sin duda la discontinuidad de muchos de los miembros que formaban parte de sus bandas.
Es evidente que a pesar de que la figura de Frank Zappa, musicalmente, conlleva una serie de características que se mantienen más o menos constantes, y evolucionan a medida que se va alcanzando una madurez, no se puede esperar que un tema suene igual tocado por unos determinados músicos que tocado por otros con estilos totalmente diferentes. Un cambio de batería puede resultar crítico, más aún cuando el feeling con el bajista no es el adecuado; un cambio de teclista/s es igualmente determinante; la presencia de una sección de viento puede elevar un tema a cotas inimaginables o su ausencia, por el contrario, hundirlo en algunos casos.
George Duke ya había formado parte de The Mothers para la gira de 1970, pero por aquel entonces la música de Zappa no se acercaba para nada al jazz-rock, que es el terreno en el que George Duke podía marcar las diferencias. En tres años, el mundo de los teclados y sintetizadores había evolucionado muchísimo, y la paleta de texturas que tenía a su disposición para la grabación de Over-nite Sensation era inmensa para la época. En los dos años y pico siguientes en los que George Duke se ocupó de los teclados en The Mothers, los temas estuvieron salpicados de esa frescura jazz-funk que posteriormente se perdió, algo que ya se veía venir cuando Terry Bozzio entró como batería en la gira con Captain Beefheart de 1975.
La relación de Jean-Luc Ponty con Frank Zappa venía ya de atrás, cuando grabó King Kong, un álbum en el que interpretaba temas de Zappa junto con George Duke, que formaba parte de su banda a finales de los 60. Posteriormente hubo intentos de que entrase en The Mothers Of Invention, pero problemas con su permiso de trabajo en USA lo impidieron. Cuando esto se solucionó, entró a formar parte de la banda, pero no llegó a encontrarse a gusto durante la gira, ya que él esperaba un mayor protagonismo y libertad. Una de sus quejas era que las partes que tenía que interpretar estaban bastante acotadas, que no disfrutaba de suficiente espacio para solos, y que no se tocaban temas de aquel disco, King Kong. Es por ello que para otoño de 1973 ya no formaba parte de la banda y ficha por la nueva encarnación de The Mahavishnu Orchestra. Over-nite Sensation no es un buen ejemplo de su trabajo en la banda; para ver realmente lo que dio de sí esta colaboración lo mejor es hacerse con conciertos de cualquiera de las giras de 1973.
Sin un vocalista fijo, la tarea de cantar se reparte entre Frank Zappa y una serie de personas, cada cual más sorprendente: Kin Vassy, The Ikettes y Ricky Lancelotti.
La aportación del primero es muy puntual, y aunque llegó a ser el vocalista principal en algún concierto de la gira previa a la grabación, no hay mucho más que decir.
Uno de los puntos álgidos de este disco son los coros de Tina Turner y sus amigas The Ikettes. Los estudios Bolic Sound eran propiedad de Ike Turner, un lugar cochambroso según recuerdan algunos de los músicos, así que Frank recurrió a The Ikettes para grabar una serie de pasajes alucinantes y extraños, muchos de ellos con alguna voz grabada a velocidad lenta para luego ser reproducida más rápido en plan dibujos animados. Tuvo que ser un trabajo muy duro y a la vez muy divertido. Cuando se lo pusieron a Ike Turner, éste dijo algo sí como que tanta historia para grabar esa mierda...
Personalmente, el disco no hubiese sido lo mismo sin esas voces femeninas tan cómicas y a la vez maravillosas.
Y, ¿qué se puede decir de Ricky Lancelotti? No sé, todavía no he escuchado a nadie cantar como este hombre en los temas de Over-nite Sensation y las sesiones de la época. Desgraciadamente, y tras un par de conciertos como vocalista principal, una serie de problemas de comportamiento hicieron inviable que mantuviese su puesto en la banda. Una auténtica pena, pues el talento y la energía que rebosaban sus intervenciones era inigualable.
Tampoco se puede dejar de lado la labor de Ruth Underwood a la marimba, vibráfono y percusiones varias. Desde un año antes, Zappa apostó por la integración de estos instrumentos de forma prácticamente fija en la banda (con las excepciones de algunas giras de 1975, 1976 y la de 1984), y no cabe duda de que ha sido un elemento básico a la hora de decorar y adornar los temas. Tal y como cuenta Ruth Underwood en el DVD 'Apostrophe – Overnite Sensation', Zappa fue uno de los pioneros en el uso de sistemas de electrificación para marimbas y vibráfonos.
Por último comentar que el disco, igual que me ocurre con las voces, tampoco sería lo mismo sin la sección de vientos, conformada en este caso por Ian Underwood, Bruce Fowler y Sal Marquez. Cualquier versión posterior de estos temas sin el uso de estos instrumentos, o bien desapareciendo por completo las líneas que interpretaban o bien siendo sustituidos por los típicos sonidos de sintetizador teóricamente similares, palidece ante las originales.
Over-nite Sensation siempre ha sido, y supongo que seguirá siendo, uno de mis discos preferidos de Zappa. Si acaso hubiese cambiado Dinah-Moe Humm por alguna de las otras que se grabaron en las mismas sesiones. En España ya la cambiaron por Eat That Question, pero no fue precisamente una decisión artística.
Me da la sensación de que me dejo muchísimas cosas por comentar, pero es que quedan todavía ochenta y pico discos oficiales por reseñar.
Z

Soy lo mejor que puedes encontrar. ¿Has adivinado ya quién soy? Soy la baba que rezuma de tu televisor. (Zappa, F. I'm The Slime)
Tras el escaso éxito de la orquesta Wazoo, Zappa decide montar, a finales de 1972, una nueva versión de los Mothers Of Invention que le acompañarían durante unos años. En estos nuevos M.O.I. Zappa buscaba superar la formación precedente, para ello, contó con viejos conocidos que aportaran una mayor riqueza instrumental al grupo y fueran más divertidos y funkys, en palabras del propio Zappa. Dicho y hecho, a inicios de los setenta, el mundo vió renacer a unos nuevos M.O.I., convertidos, ahora sí, en la banda particular del genio de Baltimore.
La alineación de estos nuevos Mothers Of Invention es de absoluto infarto. A día de hoy, en opinión de muchos seguidores del bigotudo – entre los que me incluyo - , sigue siendo uno de los mejores escuadrones musicales que escudaron la música de Zappa. No sólo tenemos a Jean-Luc Ponty, brillante violinista y uno de los pilares del Jazz fusion, sino que además, tenemos; a los hermanos Ian y Ruth Underwood, espléndido saxofonista él y percusionista ella, un dúo devastador y terrible donde los haya; el reciente y desafortunadamente desaparecido George Duke, sobre la magia de las teclas; los hermanos Fowler y, atención por favor, a las legendarias Ikettes. Sinceramente, con semejante alineación, ¿hay algún motivo para no comprar la moto?
Esta renovada banda inicia, con "Over-nite Sensation", una nueva etapa musical dentro del extenso catálogo de Zappa. Muy atrás quedan ya la locura y las vanguardistas composiciones de las Madres, adiós a la fusión de "Hot Rats" y las "Big bands" jazzísticas de Wazoo y Waka/Jawaka. Su nueva compañía discográfica, DiscReet, fundada junto a su mánager Herb Cohen, le permitió trabajar con una mayor libertad. Como dijo Bob Dylan, "los tiempos cambian". Y Zappa, lo sabía. Sin perder un ápice de calidad musical, Zappa decidió emprender derroteros más "comerciales". Si compones un disco de canciones de fácil escucha, excelente instrumentación, no te pasas con la duración de los temas o los solos, pones voz y letra a cada una de las canciones y...¡bingo! Éxito asegurado. Over-nite Sensation, junto con el siguiente Apostrophe('), fue uno de los discos más exitosos del músico, y marcará el rumbo de las futuras producciones de Zappa.
Empezamos con el fantástico medio tiempo de Camarillo Brillo y sus geniales melodías de "llamada y respuesta" que construyen una magnífica canción, que se halla acompañada de una bellísima sección de viento. La letra - absurda y humorística como el resto de las que siguen - nos relata un furtivo encuentro sexual de una hippie algo loca y un poncho (¿Será un poncho mejicano o de Sear's?). Así, y dentro del aparente caos, Zappa inaugura aquí su tradición de la Continuidad Conceptual. En la cual, muchos de temas y personajes de sus discos se repetirán con el paso del tiempo: caniches, ponchos, esquimales, sofás, etc.
Seguimos con I'm The Slime y su descomunal solo de guitarra, uno de ésos que seguro hacían brillar los ojos del joven Steve Vai. Una canción muy rockera con mucho "boogie" y con derroche de funk que se convirtió en otro clásico de Zappa. En su papel de narrador, Zappa nos habla de las vicisitudes y bellezas de la caja tonta. Esto alegrará a muchos: Zappa sigue siendo igual de mordaz, se vista como se vista. "Soy bruto y pervertido [...] Me obedecerás mientras dirijo y te comerás la basura con la que te alimento. Hasta el día en que no te necesitemos [...]". Tras el interludio hablado y el coro, pasamos el protagonismo a las angelicales Ikketes y terminamos con un solo "muy funky" de Zappa fundiéndose entre la niebla que nos conduce a la rockera Dirty Love. El clásico "sucio amor", homenaje al rock de los 70, querido por muchos, y favorita de personajes como el Gran Wyoming. ¿Quién se resiste a ése ritmo arrastrado, sucio y rockero, protagonizado por el colosal riff de Tom Fowler?
Y hablando de Fowler, pasamos a Fifty-Fifty. Una de las mejores del disco con la fantástica voz del fallecido Ricky Vancelloti, un personaje que acompañó a Zappa por muchos años y que era especialmente experto en imitar las voces chillonas típicas de los dibujos animados. Aquí tenemos que destacar los brillantes solos, por ése orden, de George Duke, Jean-Luc Ponty - en su única pero excepcional aparición -, y Zappa. Nuestro bigotudo guitarrista añadió la letra únicamente para engañar al público, pero Zappa no es ningún tonto y nos aprovecha para hacer una declaración de principios: "No voy a cantaros ninguna canción de amor, ni cómo me duele el corazón [...]Pero está bien, gente,estoy lo suficientemente loco como para cantaros de cualquier forma.Supongo que hay un cincuenta por ciento de posibilidades de que tenga algo que decir." . Fabuloso. Como la humorística Zomby Woof, donde tenemos la oportunidad de escuchar nuevamente a esa maravillosa sección de vientos, escudada por la temeraria percusionista Ruth Underwood. Otro de los clásicos. Con unos arreglos que no pueden describirse con palabras, la voz de Zappa susurrando sobre hombres lobo zombies que se cuelan en las habitaciones de las chicas cuando duermen, alternándose con Ricky y las Ikketes. No se puede pedir más.
Llegamos casi al final, con Dinah-Moe Humm, otra canción muy funky y macarrilla con una letra de ésas que harían enrojecer a un marinero: "He conocido a una mujer llamada Dinah-Moe Humm, se acerca y me dice: "Mira aquí, vagabundo. Tengo un billete de cuarenta dólares que dice que no puedes hacer que me corra. Seguro que no puedes." Muy divertida, y fantástica, aunque pierde un poco de entidad frente al super clásico de cierre: Montana. Ésta es probablemente la canción más absurda de Zappa. Una canción que nos cuenta el sueño de un vaquero de abandonar las praderas y marchar a Montana para cultivar hilo dental. Aquí las protagonistas son las Ikketes, que protagonizan un fantástico pasaje -¿operístico?- donde despliegan toda su técnica vocal, imitando la voz de un Pitufo. Tina Turner todavía recuerda, con humor y cariño, lo que le costó grabar esta parte de la canción, no sólo por su dificultad sino por la risa que despertaba en ellas. Según recuerda Zappa, Tina se sentía muy orgullosa de ser capaz de cantar estos delirios, que no gustaban nada a su controlador marido Ike Turner. Memorable también es ése final que nos dibuja al vaquero caminando hacia al atardecer, con un ritmo cabalgante, y Vancelotti cantando esos Yippy-Ty-O-Ty-Ay muy "pielrroja". En serio, si no te gusta esta canción ¡estás muy muerto!
Con estos nuevos Mothers, Zappa se embarcó en una gira mundial por USA, Australia y Europa que duró desde febrero hasta septiembre de 1973, con un fantástico repertorio instrumental: "Dog Breath", "Uncle Meat", "Chunga's Revenge", "Inca Roads", "King Kong"...Increíble. Y lo mejor sólo estaba por llegar, con Apostrophe, One Size Fits All y el brutal directo en el Roxy. Uno de esos que hacen historia, sientan cátedra, y siguen invictos a día de hoy. Y con éste pistoletazo más rockero y comercial, la carrera de Zappa emprendió un vuelo aún más alto que seguiremos narrando mientras el mundo exista.
No hay nada más que yo pueda decir sobre esta maravillosa obra de arte. No os lo perdáis. De hacerlo, posiblemente os convertiréis en uno de esos zombies de mente sucia y podrida.
Garfunkel


Me encanta cuando un disco tiene tantas y tan buenos reviews porque me evita todo el trabajo de hacerlo yo... además ¿cómo podría yo mejorar los comentarios anteriores?. Vamos ahora con comentarios en inglés para el que guste y quiera...

Love it or hate it, Over-Nite Sensation was a watershed album for Frank Zappa, the point where his post-'60s aesthetic was truly established; it became his second gold album, and most of these songs became staples of his live shows for years to come. Whereas the Flo and Eddie years were dominated by rambling, off-color comedy routines, Over-Nite Sensation tightened up the song structures and tucked sexual and social humor into melodic, technically accomplished heavy guitar rock with jazzy chord changes and funky rhythms; meanwhile, Zappa's growling new post-accident voice takes over the storytelling. While the music is some of Zappa's most accessible, the apparent callousness and/or stunning sexual explicitness of "Camarillo Brillo," "Dirty Love," and especially "Dinah-Moe Humm" leave him on shaky aesthetic ground. Zappa often protested that the charges of misogyny leveled at such material missed out on the implicit satire of male stupidity, and also confirmed intellectuals' self-conscious reticence about indulging in dumb fun; however, the glee in his voice as he spins his adolescent fantasies can undermine his point. Indeed, that enjoyment, also evident in the silly wordplay, suggests that Zappa is throwing his juvenile crassness in the face of critical expectation, asserting his right to follow his muse even if it leads him into blatant stupidity (ironic or otherwise). One can read this motif into the absurd shaggy-dog story of a dental floss rancher in "Montana," the album's indisputable highlight, which features amazing, uncredited vocal backing from Tina Turner and the Ikettes. As with much of Zappa's best '70s and '80s material, Over-Nite Sensation could be perceived as ideologically problematic (if you haven't got the constitution for FZ's humor), but musically, it's terrific.
Steve Huey

This album is very accessible. The songs are quite funny. I'm the slime vocals started his famous central scrutinizer on "Joe's Garage". Lots of vocals on this record. "Fifty Fifty's" lead voice is hysterical. The songs are quite complex despite accessibility. I like the combination of percussions, female vocals and fast keyboards ("Zomby Woof"). Guitars, brass, percussion, tons of vocals, bass, drums, keyboards, everything is omnipresent and well played!
greenback

You know, one thing you can never really have enough of is the music of Frank ZAPPA ...of course he is an acquired taste. "Over-nite Sensation" marks Frank's 7th official recording, and followed his classic album "Hot Rats". "Over-nite" is a wonderful album with some incredible instrumentation and complex song writing. Time signatures and moods are chopped up throughout working in vintage ZAPPA style. Jean Luc PONTY adds his distinctive violin aspects to the music while the "Mothers" fill in the rest and of yes of course loads of ZAPPA's crazed lyrics and excellent screaming guitar solos. This album really marked for Frank his first in a series of rock-jazz-horn-reed based albums and really helped set the stage for his later released. A great album!
James Unger

This is the other complete classic and crowd fave Zappa and Mothers (second incarnation) 70's album along with Sheik Yerbouti, outside the Hot Rats series especially in those years. .Indeed, Overnight Sensation is maybe the Zappa album that got the most radio airplay and almost every song is a classic known by a wide public. Coming with an impressive cartoon gatefold artwork, this album is probably the start of a new era for Francesco's Mommies, as after The Grand Wazoo, Frank comes back to a more concise and less ambitious songwriting and lyrics-wise, the humour comes back to the forefront and becomes really smutty and a tad scatological, although there is much worse to come. This album's radio time was mostly due to the request of male sex-hungry teenagers not tiring of Zappa's delirium and lunacy, which is exactly what Frank was hoping for. The Mother's line-up is one of the most impressive with Duke, Ponty, the Underwoods spouses and the Fowler brothers.
's are unaware of tracks like Camarillo Brillo, I'm The Slime, Dirty Love and Dinah Moe Humm, all radio-classics of the 70's, even years after their release. Little surprise that the latter three songs owe much of their fame to the overtly sexual-oriented lyrics that were over-played by post-puberty and under-experienced young males. The lesser-known tracks like Zombi Woof, Montana and Fifty-Fifty are only half successful, which for the latter isn't much surprising, but they don't deface the album's accessibility to a wide public.
A rather short album (well-short of the 40-mins mark), but definitely a crowd and fan favourite, I find OS a bit too easy to receive my full seal of approval, but it remains a candidate for an entry in my top 10 Zappa albums, should I ever have the courage to start weighing his immense discography.
Sean Trane

Forty years ago, Frank Zappa reminded us once again of his status as rock’s top arch-ironist by naming his 17th album ‘Over-nite Sensation.’ Of far greater significance, however, the record represents a comeback of sorts for Zappa, who struggled a bit in the early part of the ’70s.
By the time of the album’s release in September 1973, a decade had passed since Zappa and his self-described “repulsive teen combo” the Mothers of Invention started flipping the rock establishment on its head with their genre-defying music and caustic social commentary.
But after controversially disbanding the original Mothers in 1969, and then being attacked on a London stage two years later, a wheelchair-bound Zappa had spent the better part of 1972 composing instrumental, orchestral and big-band music for what became known as ‘The Grand Wazoo.’
So it wasn’t until the sessions for ‘Over-nite Sensation’ began, in March 1973, that an almost fully recovered Zappa started behaving like his old self again, revealing itself in the album’s updated interpretation of the old Mothers aesthetic — even though only multi-instrumentalist Ian Underwood remained from the ’60s lineup. Alongside his wife and percussionist Ruth, keyboardist-vocalist George Duke and a new generation of supporting musicians, Underwood was unknowingly serving Zappa’s vision for defining the sound that would carry him through much of the ’70s.
That sound pushed Zappa’s formidable guitar playing to the fore, along with his increasingly graphic sexual comedy (in contrast to the politicized lyrics of the ’60s), while his typically adventurous, genre-crossing creations were performed by professionally trained, sight-reading musicians capable of executing whatever Zappa threw at them with the utmost ensemble precision (something the original Mothers could never do to their leader’s satisfaction).
All of these qualities permeate ‘Over-nite Sensation’ favorites like ‘Camarillo Brillo,’ ‘Dirty Love’ and ‘Dina Moe Humm,’ and struck a chord with younger, mostly male fans who could relate to songs so radically torn between the conservatory and the gutter. Meanwhile, other tunes like ‘Zomby Woof,’ ‘Montana’ and the especially memorable ‘I Am the Slime’ gleefully traffic in varying depths of absurdity, supported by uncredited background vocals from the spectacular Tina Turner and her Ikettes.
Of course not all fans were happy about these developments — namely those partial to the Mothers of Invention and Zappa’s more erudite output. But the typical rock-music consumer had spoken, or was about to, as the following year’s ‘Apostrophe’ album (largely recorded during the same sessions, with the same musicians and same musical hallmarks) soon rode ‘Over-nite Sensation’s’ momentum to the Top 10 and to Zappa’s first gold sales certification.
Eduardo Rivadavia

This is the beginning of the so called "New Era" for F. ZAPPA: such an accessible stuff, enriched with a lot of sexual references and bizarre features of "depravity" as well... otherwise it demonstrates also his ability in telling a story, by means of his particular music language! Moreover by regarding of his killer guitar solos and other stunning examples of some violin solos by Jean Luc PONTY, it isn't difficult to fall in love with this album.
Recommended, also for his sociological tough satire!!
Lorenzo

Somehow, FRANK ZAPPA found a way on "Overnite Sensation" to package his oddball humor and complex arrangements into a commercially palatable package. It was the first ZAPPA album to go gold, and contained songs (like "Montana") that could actually be played on FM radio without frightening away listeners. For this reason, AMG rightly refers to this as a "watershed album." It marked a clear and conscious departure from the complex, often orchestral jazz rock of earlier efforts like "Hot Rats" and "The Grand Wazoo", succinctly summing up the traits that made ZAPPA so special: the brilliant guitar leads, luminous contributions from fellow artists (Jean-Luc Ponty, George Duke, Ruth Underwood), and the perverse sense of humor. Because folks who might not ordinarily buy this album did, some were shocked to hear lyrics about bestiality ("Dirty Love"), orgasms ("Dinah Moe Humm"), and a Mexican witch who just happens to be breeding a dwarf ("Camarillo Brillo"). However, longtime listeners were used to this sort of thing; after all, is anything on here less tasteful than "Magdalena" or "The Mud Shark?" If the material is a little off color, Frank delivers it in a good-humored growl more mischievous than menacing. What's most impressive about "Overnite Sensation" is that so much music finds its way into these six-minute tunes without bursting the confines of the standard lyric rock song. The band's ability to start a track like "Zomby Woof" in a relatively straightforward manner, veer off into extracurricular melodies and solos, and then bounce back to find the original structure still intact is amazing. Some might argue that Underwood, Duke and Ponty are given limited roles in these arrangements, but all the better to hear Frank's guitar burn up the place on "Dirty Love" and "I'm The Slime." "Overnite Sensation" is probably the most accessible entry point for adventurous rock fans to approach the work of FRANK ZAPPA. The guitarist himself was obviously pleased with his newfound ability to write in a more concise format, and continued in this idiom for the remainder of the decade, relegating his experimental side to his unreleased leviathan, Lather (which escaped in drips and drabs over the '70s and '80s).
Dave Connolly

I remember as a teenager in 1989 listening to the Doctor Demento show and he would play some ZAPPA. Amongst these songs played were "Dirty Love", "I'm the Slime" and "Montana". These three songs alone are featured on this album from 1973. In 1994 some hippie type from Eugene, Oregon that I was friends with for a few months simply gave me the LP (it was a later print on the Reprise label, not the original on DiscReet). Basically at this point, the MOTHERS only existed as name only. Ian Underwood who was with the MOTHERS since 1967 is on this album, but he's hardly noticed here. The MOTHERS simply became ZAPPA with whoever he can find at the time. "Over-Nite Sensation" became his most accessible album at that point, he decided to stick with music, probably in reaction to the bathroom humor albums he did with the Flo & Eddie lineup ("Fillmore East", June 1971 and Just Another Band From L.A.), and the two big band jazz/fusion albums he did in '72 ("Waka/Jawaka", "The Grand Wazoo"), probably to sell a few more copies.
No doubt the best songs on here are the ones I heard on the Doctor Demento Show. I have made a joke had ZAPPA still lived past 1993, he could have re-written "Montana" to go something like this: "Moving to Montana to join a right-wing militia group". OK, so the words don't exactly fit in with the song, but back around the mid '90s, Montana was getting media attention for being a hotbed of militia activity, so I couldn't help but think of the ZAPPA song, and altered lyrics. The actual song of course, went something like "Moving to Montana soon/gonna be a dental floss tycoon". The song is pure silly, referring to how some idiot is going to move to Montana to grow dental floss bushes. Sounds like he's poking fun at ignorant people here. Then there's "Dinah-Moe Humm", which seems to be a song about taking a bet with a prostitute. What's really silly is there's no such thing as a 40 dollar bill (which was used as a bet). Then there's "I'm the Slime" poking fun at the mindless drivel emanating from the television (ZAPPA should see how pathetic television became in 2003, where in '73 you're lucky to have three channels, and only a few had cable). He basically treates the television as a brainwashing tool. Certainly this album alienated some of his old fans from the original MOTHERS, but if you enjoy a more humorous ZAPPA, you're sure to enjoy this album.
Ben Miler

If anyone asks me where to start with ZAPPA (which, to be honest, never happens), this and "Sheik Yerbouti" are my usual first choices. The opening strains of "Camarillo Brillo" are some of Frank's most accessible sounds, letting him slip temporarily into Warren Zevon/ Randy Newman territory. It's an evocative and nostalgic sound, as west-coast 70s as THE EAGLES or any other band that had weathered the previous decade's schizophrenic psychedelic excesses and discovered more comfortable, sun-drenched property. The song may not provide as much humor or commentary (or musical skill) as others in his discography, but it is by no means a surrender. "I am the Slime" is more like; television takes a well-deserved beating, and I like Frank's voice best when it does the sleazy deep spoken thing. With Tina Turner and the Ikettes taking the place of Flo and Eddie, you might expect an increased soulfulness. A minor complaint: I wish the wah guitar had been a little more full-sounding, as the intro and the jam at the end is great. "Dirty Love" is a textbook example of weird Zappa sex, including the ongoing poodle imagery, but doesn't really stand out as much for me as it might for a ZAPPA initiate. Ricky Lancelotti's vocal take on the carnival-jazz of "Fifty-fifty" is interesting, and the ambivalent tone of the lyrics makes this an curious character piece- but again, this is not on my list of top FZ tracks. The violin solo, however, delivers all the blazing Ponty action you could hope for, and the brief unison section with the guitar is pure prog- as is the intro to "Zombie Woof". A fun and funky boogie man song, the sound metamorphs constantly through various jerky sections: lighthearted fusion, circus keyboards, heavy guitar wailing (the solo is perhaps a bit long), and funky clavinet syncopation. "Dinah-moe-humm" is an unforgettable classic- Frank's signature sex piece (for the time being, anyway). Has anyone had the brilliant idea of playing this and Barry White back to back? This single song inpsired legions of funny-dirty- underground musicians (ah, so this is the connection between Warren Zevon and Dr. Dirty) and therefore provided a soundtrack for legions of giggling high school boys. I'll bet it sounded great on 8-track, too. Finally, "Montana" lampoons the back-to-basics outlaw homesteading urge, and therefore is just as relevant in this era (stick the word 'militia' in there and bob's your uncle). The bad news? The chipmunk voices wear on me a bit, and it doesn't feel like a worthy climax to this classic album, although riding off towards the horizon is a good image to close with.
Final summation: classic and essential ZAPPA; Sure, there's better ZAPPA albums, but this one is a great start and you'll have to get it eventually.
James Lee

Frank Zappa was always a pioneer in the realm of distinctive avant-garde music. On this release, the listener hears a more commercial Zappa, a phase that pretty much started with this album. Gone are the elaborate orchestrated suitesThis album, while it is more commercial, is still very good. The humor is still there and musicianship is excellent, as always. Now, on to the review.
The album starts out with the extremely catchy tune, "Camarillo Brillo." The usual Zappa humor is still there. Next comes "I'm the Slime," a funky song that starts out with Zappa's deep voice and then builds up to the catchy chorus. Next, comes a great guitar solo by the man himself. "Dirty Love," another catchy number, is not as quite as strong as the two previous numbers, but is still good and also features another guitar solo. "Fifty-Fifty" is one of my favorites on the album. It has a jazzy, uptempo shuffle feel and an incredible keyboard solo by George Duke. Jean-luc Ponty takes over after the keyboard solo, proving that he truly is a violin virtuoso. Next, Zappa presents the listener with another outstanding guitar solo. The song then goes back to the shuffle feel. It definitely is one of the highlights of the album.
"Zoomby Woof" is another Zappa classic. It maintains the complexity of the earlier Zappa outputs, while clearly showing that Zappa was moving forward in his career. "Dinah-Moe Humm" abounds in Zappa-esque humor. It is an obvious attempt at sexual humor, and for the most part, it works, although some might find it a bit offensive. "Montana" is the last track on the album. It's a good closure to the album, but not the best overall.
This album is a great one for any person interested in getting into Frank Zappa's works. It is accessible, but still maintains the complexity of Zappa's earlier works. Every Zappa fan should own this album. It truly is an excellent addition to anyone's collection. Highly recommended, four stars!
Formerly Meurglys III

Zappa's first rock album (in Zappa style, of course) and one of my personal favorites overall as this was one of my first true tastes of what this man could do. The music is song oriented but always displays highly creative arrangements and entertaining lyrics, but the real treat here got to be the musicianship that is probably the tightest in Zappa's bands thus far. Zappa's offbeat humor may not be for anyone but the music perfectly reflects the lyrics all the way through, creating some pretty wild avant-ish parts in the songs at times, notably in tracks like 'Zomby Woof' and '50-50'. Otherwise, this album is very blues and rock oriented and at 34 minutes it's kinda short, but luckily with high replay value, and if you like humor of a dirtier kind then tracks like "Dinamoe-Hum" and "Dirty Love" will be right up your alley. For a prog album it's definitely not in the same league as Foxtrot or Tarkus but taking the music for what it is it's definitely one of the best albums of the 70's
Björnar Lunde

In today's terms, this album's content both lyrically and musically would probably be seen as beyond childish perhaps almost embryonic! With so much outright vulgar music in the last few decades, this was a masterpiece of daring back in days where the Stones had to rename a song "StarStar" instead of "Star******" , where Roxy Music's Country Life album was ordered to cover up the nubile German models on the cover with dark grey plastic (which made the peeling off even more trepidating!!!) and in the end airbrushed out completely (no jerking off here) . So when Uncle Frank ,who already had a worldwide reputation as a sexual troublemaker bent on fighting (Goring) lack of freedom of expression in the still very prude USA, decided to drop his drawers and dish out "Dinah Moe Hum" , a Zappaesque vision of the "Battle of Epping Forest "or "Harold the Barrel", he showed courage and certainly foresight. In the early seventies, lyrics like "whipped of her bloomers and stiffened my thumb, applied rotation to her sugar plumb" or "I poked and stroked til my wrist got numb, but I still didn't hear no Dinah Moe Hum" was just so avant-garde , so daring, so ballsy. I remember clearly how some frustrated people called this porn rock !!! Well, "Dirty Love" was pretty blatant , what with the french poodle bit but , hey, sex, drugs and rock n roll where never better expressed than with the Mothers!!! But the music here was breathtakingly cinematographic, where coitus was sonically rendered with various percussives , Frank liberally deep throating his voice inducing "sweat on her upper lip area" , where Jean-Luc Ponty's slippery violin induced visions of orgasm and "I am the Slime from your TV set" was probably the gospel truth. This is his unabashed masterpiece mainly because it transcends all his other output, voyaged into illegal pleasures that no one else dared to attempt and made a musical monument to breaking down various barricades. All the musicians really shine though nothing is extended or even slightly proggy. Yes, pure genius. So "How 'bout you Fauna, ya wanna?
Thomas Szirmay

Don't remember exactly when I heard the songs from this album the very first time; must have been around 76 right in the middle of my teenager years. But I remember very well that I've been immediately fascinated by them and I am still today 30 years later. This one was the first of a series of more accessible Zappa releases followed by "Apostrophe", "One Size Fits All", "Zoot Allures" and "Sheik Yerbouti" which I consider his most commercial one. Though the tracks on here being mostly quite catchy "Overnite Sensation" is like the following ones nonetheless an excellent album and certainly a very good starting place to get into the huge discography of this legendary musical genius. Accessibility doesn't mean here inferiority at all, actually for an exceptional and quite "mad" musician like Zappa who had been doing artistic works which are really extremely difficult to get into it's rather a positive thing. It doesn't mean as well that one has to forgo great musicianship and complex song structures, both of which are plenty to be found on here. Of course the lyrics are as usually with him x-rated, mostly about sex, but as well social criticism (as in "I'm The Slime" about tv program) or ironic (as in the parody of a country song "Montana"). Actually all the songs on here kept stuck very well in my mind though I haven't listened to this album very often during the decades. For me it's having a big time and pleasure with nice memories every time I'm puttin' it into my player (of course I own the CD version meanwhile). Not to forget mentioning the great line-up the Mothers were consisting of on this record: Jean-Luc Ponty with furious violin play, George Duke with terrific keyboards, Ian Underwood on flute, clarinet and sax, Bruce Fowler on trombone to name just a few. Finally I just can say that this one's certainly a must-have addition for any prog collection and an excellent example for a "more accessible Zappa"!
Dieter Fischer

Another great contribution to music from Frank Zappa. Overnight Sensation has some of the genius' best loved songs, and it's little wonder why.
"Camarillo Brillo" is hilarious with its tale of a bizarre sexual encounter. Frank's guitar leads the way through this mad tale.
"I'm the Slime" is one of Frank's most recognized songs. It deals with television's magic ability to turn people into brainless oafs who believe whatever they're told. Great solo.
"Dirty Love" is another mad and deliciously filthy song.
"Fifty-Fifty" skewers the teenage "I'm gonna be a famous rock star" dream. Ricky's screams are a satire on the howling singers of the seventies. The song features on of Zappa's best solos. Jean-Luc Ponty also stands out with his violin work.
"Zomby Woof" is a catchy piece that brings his classical instrument to the forefront.
"Dinah-Moe-Humm" is one of the most brazen songs ever recorded. If I were to describe the lyrical content of this song I would probably be banned from the site for vulgarity. This song is hysterically funny; I laughed 'til I cried when I first heard it.
"Montana" is another signature Zappa tune with its wacky lyrics about an aspiring dental floss grower.
This is a superb album that ranks among the higher end of Frank's incredible output. Highly recommended.
Jake Cole

Frank Zappa has to be considered the best rock bandleader in history because he never failed to surround himself with the cream of the crop and produce music that was not only complex but also exhilarating at the same time. But the big attraction for me was Frank's overriding satiric wit and his uncanny ability to lampoon his own generation. I remember going to the record store with my buddy Glenn sometime in 1967 where he bought "Freak Out" by the Mothers of Invention and I bought the debut of Buffalo Springfield. I thought Glenn's album was too weird and he thought my album was too tame. Nonetheless, despite my naive reservations I kept Zappa in the corner of my ear, sampling his underground concoctions from time to time. Then, in 1973, Frank and The Mothers suddenly started getting FM airplay with this album. He didn't sell out; it's just that the music on "Over-nite Sensation" was accessible enough for the public at large to digest and that allowed his humorous observations to finally break through.
In order to fully appreciate his genius you have to keep in mind that southern California harbors some of the strangest mindsets in the known world and Zappa was born and fully immersed in that eccentric corner of mankind. (I lived there for almost 3 years in the late 70s and will never forget the crazy but loveable characters I met.) With that in mind it's no wonder that people's preoccupation with sex is a major theme in three of the songs. "Camarillo Brillo" takes on would-be mystics who just want to be seductresses with lyrics like "She said she was a magic mama/and she could throw a mean Tarot." "Dirty Love" assails kinky fantasies that can even involve Poodles, crooning "Give me your dirty love/like a pink donation/to the dragon in your dreams." And there's the ultimate groupie epic "Dinah-Moe Hum" in which she challenges the rock star with the offer that can't be refused. Despite the scandalous subject matter it must be pointed out that not one single curse or filthy word is uttered on this album. Everything is conveyed by innuendo, which is funnier by far, and it certainly frustrated the censors no end.
The ever-popular television medium gets a punch in the gut on "I'm the Slime" where Frank intones devilishly "I may be vile and pernicious/but you can't look away/I make you think I'm delicious/with the stuff that I say." On "Fifty-fifty" he employs some guy named Ricky Lancelotti to make fun of self-important, opinionated rock and roll idols as he rasps "I figure the odds be fifty-fifty/I just might have something to say." (Some things never change.) On "Zomby Woof" our seemingly insatiable need to be frightened by imaginary monsters fuels inspired lines like "I might snatch you up screamin' through the window all nekkid and do it to you up on the roof" because he's "Telling you all the Zomby troof/here I'm is/the Zomby Woof!" And, last but not least, it seemed that the aim of a lot of delusional dead-end-job employees living in the city at that time was to leave the hectic urban life behind and relocate to the rustic countryside and get back to nature. "Montana" still makes me laugh out loud with absurd statements like "Well, I just might grow me some bees" and "By myself I wouldn't have no boss/but I'd be raisin' my lonely dental floss" thereby becoming a "mental toss flycoon." Priceless!
Beneath all this keen satire, though, lies a bedrock of great performances by some of the best musicians of that day. On "Fifty-fifty," for example, George Duke turns in a terrific organ solo and violinist Jean-Luc Ponty shines brightly. Frank, of course, tears it up frequently with his madman guitar leads that defy interpretation or analysis. You can also tell that everybody involved is having a grand old time. So, if you need a break from prog bands who sometimes take themselves and life way too seriously, look no further than Mr. Zappa and his fun-loving yet talented friends who had a ball razzing society's obvious hypocrisies while constructing a classic album.
Rollie Anderson

Zappa's most commercial sounding record up to this point, and it would also be his best selling album to this point in time as well. Frank seems to have had sex on the brain when he recorded this (haha).
It starts with a story about a strange sexual encounter, where our subject seems preoccupied with her poncho. "I'm The Slime" would at first glance seem to be about sex, but the slime in question are the TV shows. Nice guitar solo to end the song. Yes, "Dirty Love" is about sex. "Fifty Fifty" is one of my favourites on this record. The crazy lead vocals are from Ricky Lancelotti. Jean-Luc Ponty graces us with some violin and Frank's guitar solos are fantastic. "Zomby Wolf" has some beautiful instrumental passages,from the horns to the guitar. Nice. Oh, it's about sex. "Dinah-Moe Humm" is a little over the top. A very sexually explicit song that sort of makes me cringe when I hear it. "Montana" is such a perfect Zappa tune. My favourite on the album and the funniest, with some xylophone and great vocals. I love the guitar 2 minutes in as well.
Perhaps a good place to start for the Zappa uninitiated as this is very accessible music with a lot of sex.
John Davie

Y les podría traer muchos otros comentarios pero no tiene sentido, todos dicen más o menos lo misno: ¡que no se pierdan este disco!




1 comentario:

  1. Download: (Flac - No CUE - Log + Scans)
    http://pastebin.com/c5r9nqYV

    ResponderEliminar

Lo más visitado en el mes

Aclaración...

Este espacio se reserva el derecho de publicar sobre cualquier tema que parezca interesante a su staff, no solamente referidos a la cuestión musical sino también a lo político y social.
Si no estás de acuerdo con lo expresado podrás dejar tu comentario siempre que no sea ofensivo, discriminador o violento...

Y no te confundas, no nos interesa la piratería, lo nuestro es simplemente desobediencia civil y resistencia cultural a favor del libre acceso al conocimiento (nuestra música es, entre otras tantas cosas, conocimiento).